内容摘要：AP correspondent Karen Chammas reports on four boats that capsized in China leaving 10 people dead.

AP correspondent Karen Chammas reports on four boats that capsized in China leaving 10 people dead.

There’s also a so-called “dollar bill suit” by the label 3.Paradis — the jacket sporting a laminated one-dollar bill stitched to the breast pocket, meant to suggest the absence of wealth.The “disguise” section includes a collection of 19th-century newspaper ads announcing rewards for catching runaway enslaved people.

The ads, Miller notes, would often describe someone who was “particularly fond of dress” — or note that the person had taken large wardrobes. The reason was twofold: The fancy clothes made it possible for an enslaved person to cloak their identity. But also, when they finally made it to freedom, they could sell the clothing to help fund their new lives, Miller says.“So dressing above one’s station sometimes was a matter of life and death,” the curator says, “and also enabled people to transition from being enslaved to being liberated.”The contemporary part of this section includes striking embroidered jackets by the label Off-White that purposely play with gender roles — like displaying an ostensibly “male” jacket on a female mannequin.

Stopping by a set of portraits from the early 19th century, as abolitionism was happening in the North, Miller explains that the subjects arewell off enough to commission or sit for portraits, and dressed “in the finest fashions of the day.” Like William Whipper, an abolitionist and wealthy lumber merchant who also founded a literary society.

A design by Grace Wales Bonner is displayed at the Metropolitan Museum of Art’s Costume Institute. (Photo by Charles Sykes/Invision/AP)

A design by Grace Wales Bonner is displayed at the Metropolitan Museum of Art’s Costume Institute. (Photo by Charles Sykes/Invision/AP)a few nights earlier, on May 5. It’s the first Met show to focus exclusively on Black designers, and the first in more than 20 years to have a menswear theme.

A design by Jacques Agbobly, intended for the upcoming Costume Institute exhibit, “Superfine: Tailoring Black Style,” appears in the installation room at the Metropolitan Museum of Art in New York on March 20, 2025. (AP Photo/Jocelyn Noveck)A design by Jacques Agbobly, intended for the upcoming Costume Institute exhibit, “Superfine: Tailoring Black Style,” appears in the installation room at the Metropolitan Museum of Art in New York on March 20, 2025. (AP Photo/Jocelyn Noveck)

As always, the exhibit inspires theand this year’s — “Tailored For You” — makes clear that guests are invited to be as creative as possible within the framework of classic tailoring.